The Motet in the Age of Du Fay (New Perspectives in Music History and Criticism)

Cover......Page 1
Half-title......Page 3
Title......Page 5
Copyright......Page 6
Contents......Page 7
Tables......Page 9
Musical examples......Page 11
Acknowledgments......Page 13
Musical examples......Page 15
Introduction......Page 19
Part I: Models and methods......Page 23
1 Approaches and analogies......Page 25
Categories have structure......Page 27
Generic evolution......Page 34
Analogies with genre......Page 36
The evolution of the medieval motet......Page 38
Genre, subgenre, and interpretation......Page 42
A generic repertory for the motet......Page 45
TEXTURE......Page 46
VOICE RANGES......Page 47
MELODIC BEHAVIOR (LEAPS, STEPS)......Page 48
REDUCED SCORING, OR USE OF RESTS......Page 49
CONSTRUCTION AND COUNTERPOINT......Page 50
MENSURATION(S)......Page 51
USE OF PRE-EXISTENT MUSICAL MATERIAL (CPF)......Page 52
NEW VS. PRE-EXISTENT TEXTS......Page 53
LITERARY REFERENCES......Page 54
WHAT WAS THE FUNCTION OR LITURGICAL POSITION OF THE TEXT IN ITS ORIGINAL FORM?......Page 55
NUMBER OF NOTES PER SYLLABLE......Page 56
Clusters of features......Page 57
Treatises......Page 59
Johannes Tinctoris......Page 60
Paolo Cortese......Page 61
Libri motetorum and motet singing......Page 63
Endowments......Page 64
Modena X.1.11......Page 66
ANTIPHON SETTINGS IN THE MOTET SECTION......Page 67
LESSONS FROM MODENA X.1.11......Page 69
Motets in other fifteenth-century sources......Page 72
ALL-PURPOSE COLLECTIONS (WITH AND WITHOUT SECULAR MUSIC)......Page 73
MASSES......Page 76
VESPERS MUSIC......Page 77
Conclusion......Page 78
Part II: Motets in the early fifteenth century: the case of Bologna Q15......Page 81
4 The motet section of Bologna Q15 and its ramifying roots......Page 83
The motet section of Bologna Q15: compilation, chronology, and contents......Page 84
Searching for subgenres......Page 85
Texture, cadences and construction......Page 89
CONTRATENOR......Page 95
Form......Page 97
Text......Page 99
French isorhythmic motets......Page 100
Terminology and history......Page 103
The English cantilenas in Bologna Q15......Page 108
FOREST’S ALMA REDEMPTORIS MATER......Page 109
The dissemination and transmission of English cantilenas......Page 114
Ramifying roots reviewed......Page 115
5 A new hybrid subgenre: the cut-circle motet......Page 117
The origins and meaning of the cut-circle mensuration sign (Theta)......Page 118
Features of the cut-circle motet......Page 126
Final and characteristic opening......Page 127
Floridity......Page 131
Text types......Page 133
Borderline cases......Page 135
RELATED MASSES......Page 136
RELATED CHANSONS......Page 137
Concluding thoughts on the cut-circle motet......Page 140
Declamation motets......Page 143
Continental cantilenas......Page 149
Unus–chorus motets......Page 150
Texts......Page 152
Texture and Style......Page 154
Devotional double-discantus motets......Page 156
Other double-discantus motets......Page 160
Borderline motets......Page 161
Song settings in Bologna Q15......Page 162
Kinds of motet......Page 164
7 The motet in the early fifteenth century: evolution and interpretation......Page 165
Comparison with other manuscripts......Page 166
Cristoforus de Monte: Dominicus a dono (Ex. 4.1)......Page 172
Johannes de Sarto: Ave mater, O Maria (Ex. 5.1)......Page 173
Arnold de Lantins: Tota pulchra es (Ex. 6.1)......Page 174
Humbertus de Salinis: Ihesu salvator seculi/Quo vulneratus scelere (Ex. 6.2)......Page 175
Du Fay: Supremum est mortalibus bonum......Page 176
LINES 1–2 (MM. 1–10): PRELUDE......Page 177
LINE 9, MM. 38–40: END OF TALEA II......Page 178
LINES 19–21, MM. 101–20: POSTLUDE......Page 179
Part III: Motets in the mid-fifteenth century: the case of the Trent Codices......Page 183
8 Motets in the Trent Codices: establishing the boundaries......Page 185
Dates and provenance......Page 186
Liturgical service music......Page 189
Cantiones and Leisen......Page 192
Textless pieces and contrafacta......Page 193
Overview of the repertory......Page 199
The English cantilena: from Dunstaple and Power to Plummer and Frye......Page 203
MENSURAL USAGE......Page 208
ORIGINS......Page 209
Non-Song cantilenas in Band II......Page 210
Continental cantilena-style motets......Page 212
Continental cantilenas with chant......Page 213
Continental cantilenas without chant......Page 217
Probable contrafacta......Page 218
Touront’s song motets......Page 219
The end of the English cantilena......Page 222
10 Motets with a tenor cantus firmus c. 1430–1450......Page 224
Four-voice isorhythmic motets with the top voices in the same range......Page 225
Four-voice isorhythmic motets with unequal triplum and motetus......Page 226
The three-voice tenor motet......Page 233
Contrasting approaches to the subgenre......Page 238
The three-voice tenor motet and the English tenor Mass......Page 240
The Caput Mass and the Caput texture......Page 241
The end of the double-discantus texture......Page 246
Transitional freely composed motets with a single discantus......Page 249
Two clefs, two ranges......Page 250
Tenor in the middle......Page 251
More than three voices with the tenor on the bottom......Page 254
Tenor on the bottom, three voices......Page 255
Flos de spina......Page 257
Johannes Puyllois......Page 261
Melodic style......Page 262
Imitation......Page 263
Texture......Page 264
Form and Structure......Page 266
Text and text setting......Page 269
Four-voice song motets......Page 272
Large four-voice motets with two or more sections......Page 274
Pre-existent foreign tenor......Page 275
Occasional or dedicatory motets......Page 278
MASS–MOTET CYCLES (TABLE 12.2B.1)......Page 281
CONTRAFACT KYRIES (TABLE 12.2B.2)......Page 282
Independent devotional tenor motets......Page 283
Chant-paraphrase motets......Page 284
Between tenor and chant-paraphrase motet......Page 288
Freely composed motets......Page 296
Touront: Compangant omnes (Ex. 9.3)......Page 302
Touront: Recordare virgo (Exx. 12.2 and 12.3)......Page 303
Du Fay: Ave regina celorum III......Page 304
Subgenres in Bologna Q15......Page 306
The “contenance angloise”......Page 308
ENGLISH CANTILENAS......Page 309
THE THREE-VOICE TENOR MOTET......Page 310
Continental subgenres......Page 311
NEW FOUR-VOICE SUBGENRES......Page 313
English......Page 322
English......Page 323
INTRODUCTION......Page 324
1 APPROACHES AND ANALOGIES......Page 325
2 SUBGENRE, INTERPRETATION, AND THE GENERIC REPERTORY......Page 330
3 FIFTEENTH-CENTURY USES OF THE TERM “MOTET”......Page 333
4 THE MOTET SECTION OF BOLOGNA Q15 AND ITS RAMIFYING ROOTS......Page 338
5 A NEW HYBRID SUBGENRE: THE CUT-CIRCLE MOTET......Page 346
6 OTHER NEW HYBRID SUBGENRES......Page 351
7 THE MOTET IN THE EARLY FIFTEENTH CENTURY: EVOLUTION AND INTERPRETATION......Page 354
8 MOTETS IN THE TRENT CODICES: ESTABLISHING THE BOUNDARIES......Page 355
9 ENGLISH AND CONTINENTAL CANTILENA-STYLE MOTETS......Page 359
10 MOTETS WITH A TENOR CANTUS FIRMUS C. 1430–1450......Page 360
11 FREELY COMPOSED FOUR-VOICE WRITING IN TRANSITION......Page 364
12 THE FOUR-VOICE MOTET C. 1450–1475......Page 368
CONCLUSION......Page 373
Bibliography of books and articles......Page 375
Modern editions of music......Page 392
Sources and sigla......Page 397
Abbreviations for subgenre identifications in the index of works......Page 400
Index of works......Page 402
Index......Page 418